Mahler Transcending. London Symphony Orchestra Simon Rattle, Conductor. Friday, May 4, 2018 at 8:00 pm Symphony No. 9

Friday Monday, May 4 7, 2018 Mahler Transcending London Symphony Orchestra Simon Rattle, Conductor Friday, May 4, 2018 at 8:00 pm Symphony No. 9 Sunday, May 6, 2018 at 3:00 pm Das Lied von der Erde Monday, May 7, 2018 at 8:00 pm Symphony No. 10 (completed by Deryck Cooke) Please make certain all your electronic devices are switched off. These programs are supported by the Leon Levy Fund for Symphonic Masters. Symphonic Masters is made possible in part by endowment support from UBS. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. David Geffen Hall

Great Performers Support is provided by Rita E. and Gustave M. Hauser, Audrey Love Charitable Foundation, Great Performers Circle, Chairman s Council, and Friends of Lincoln Center. Public support is provided by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. Endowment support for Symphonic Masters is provided by the Leon Levy Fund. Endowment support is also provided by UBS. Nespresso is the Official Coffee of Lincoln Center NewYork-Presbyterian is the Official Hospital of Lincoln Center We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces. The taking of photographs and the use of recording equipment are not allowed in the building.

The Program Sunday, May 6, 2018, at 3:00 pm Symphonic Masters London Symphony Orchestra Simon Rattle, Conductor Stuart Skelton, Tenor Christian Gerhaher, Baritone MAHLER Das Lied von der Erde (1908) Das Trinklied vom Jammer der Erde Der Einsame im Herbst Von der Jugend Von der Schönheit Der Trunkene im Frühling Der Abschied Please make certain all your electronic devices are switched off. These programs are supported by the Leon Levy Fund for Symphonic Masters. Symphonic Masters is made possible in part by endowment support from UBS. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. David Geffen Hall

Great Performers UPCOMING GREAT PERFORMERS EVENTS: Monday, May 7 at 8:00 pm in David Geffen Hall London Symphony Orchestra Simon Rattle, conductor MAHLER: Symphony No. 10 (completed by Deryck Cooke) Saturday, May 12 at 7:30 pm in Alice Tully Hall Sol Gabetta, cello Bertrand Chamayou, piano BEETHOVEN: Cello Sonata in F major, Op. 5, No. 1 BRITTEN: Sonata in C major, Op. 65 CHOPIN: Sonata in G minor; Grand Duo on themes from Meyerbeer s Robert le diable Saturday, May 19 at 7:30 pm in Alice Tully Hall Freiburg Baroque Orchestra Kristian Bezuidenhout, fortepiano and director HAYDN: Symphony No. 74 in E-flat major MOZART: Piano Concerto No. 17 in G major JOHANN CHRISTIAN BACH: Symphony in G minor MOZART: Piano Concerto No. 9 in E-flat major ( Jeunehomme ) For tickets, call (212) 721-6500 or visit LCGreatPerformers.org. Call the Lincoln Center Info Request Line at (212) 875-5766 to learn about program cancellations or to request a Great Performers brochure. Visit LCGreatPerformers.org for more information relating to this season s programs. Join the conversation: @LincolnCenter

Great Performers I Conductor s Note Conductor s Note By Sir Simon Rattle About 25 years ago, I made my debut with the Vienna Philharmonic, which was broadcast live on the radio. I begged the engineers to make a copy of the performance of Mahler s Ninth Symphony. They were very sweet and grabbed the only cassette they could find, which I later discovered also had the composer s Das Lied von der Erde on it. It was fairly surreal to hear these two masterpieces played simultaneously, but it also made me reflect that I was hearing music which Mahler had composed but never heard live. In this series of concerts, we play all three of Mahler s late symphonies (including Das Lied), which all had posthumous premieres, and were all shot through with memories and experiences of his New York years. They were all on his composing desk while he was the busy head of the New York Philharmonic and conducting a wide swath of repertoire including Elgar, Debussy, Chabrier, and Rachmaninoff, endlessly curious as he was. It was in New York that he heard the cylinders of Chinese music which so influenced Das Lied, and the distant but shattering drum strokes from a policeman s funeral that unforgettably punctuate the finale of his Tenth Symphony. All three of these pieces have followed me through my entire musical life, and I recently worked out, to my horror, that I have conducted the complete Tenth Symphony over 100 times not that it makes the piece any easier! Or less profoundly emotionally shattering for that matter. Without New York, these three masterpieces would have been totally different: Even the urban landscape of the third movement of the Ninth Symphony, unparalleled in his entire oeuvre, would be unthinkable without his deep connection with this city. So for me to bring my new musical family, the extraordinary London Symphony Orchestra, to New York to make this epic journey is a very special experience and a perfect way to carry on our long and warm relationship with our loyal partners at Lincoln Center. I look forward to many years of this happy collaboration. Copyright 2018 by Lincoln Center for the Performing Arts, Inc.

Great Performers I Notes on the Program Notes on the Program By Christopher H. Gibbs Das Lied von der Erde (1908) GUSTAV MAHLER Born July 7, 1860, in Kalištë, Bohemia Died May 18, 1911, in Vienna Approximate length: 60 minutes Mahler composed primarily during summers. As his international conducting fame grew, so too did his other professional responsibilities, all of which left little time to pursue composition except during the off season. By 1897, when Mahler became the director of the Vienna Court Opera, arguably the most powerful musical position in Europe, his schedule had reached a dizzying complexity. He usually took one or two years to complete a symphony, and by 1906 he was up to his Eighth, the so-called Symphony of a Thousand. Between the completion of the Eighth and its triumphant 1910 debut in Munich came one of the darkest periods in Mahler s life. He worked on his final three compositions during the summers of 1908 10: Das Lied von der Erde ( The Song of the Earth ), the Ninth Symphony, and the unfinished Tenth Symphony. The connections between and among these works, as well as their ultimate place in the composer s output, have invited many musicians and listeners to view them as deeply concerned with death, as some kind of farewell trilogy. After finishing the Eighth Symphony, Mahler endured three personal traumas, beginning with his resignation from the Vienna Court Opera, followed by the death of his beloved elder daughter, Maria, at the age of 4 in July 1907. Soon after, a local physician examined Mahler and diagnosed a heart condition. He placed restrictions on the composer s activities. Mahler signed a lucrative contract with the Metropolitan Opera in New York City and after his first season there, he returned to Europe in April 1908. Disturbing memories of the previous summer prompted him to give up the lovely home he had built in Maiernigg, Austria, and find refuge in Toblach, near the Dolomite Mountains, where he composed Das Lied von der Erde. His doctors had advised that he curtail not only some of his demanding conducting activities, but also the long walks in both city and country that he so treasured. He commented in an unusually personal letter that: This time it is not only a change of place but also a change in a whole way of life. You can imagine how hard the latter comes to me. For many years I have been used to constant and vigorous exercise roaming about in the mountains and woods, and then, like a kind of jaunty bandit, bearing home my drafts. The mature Mahler composed exclusively in two genres: song and symphony. Not surprisingly, they often merge, and never more so than in the work we hear today, what might be considered a symphony of songs.

Great Performers I Notes on the Program Mahler supposedly had superstitions about composing a ninth symphony, as they had concluded the careers of Beethoven and Bruckner. His wife, Alma a far from reliable source in many instances later reported that he initially called Das Lied von der Erde his Ninth Symphony, but that he tried to cheat fate by crossing out the number. Das Lied, left unnumbered, was entitled a Symphony for Tenor and Alto- (or Baritone) Voice and Orchestra. While Das Lied is clearly symphonic, it continues at the same time the tradition of the orchestral song cycle that Mahler had already cultivated in the Lieder eines fahrenden Gesellen ( Songs of a Wayfarer ) and Kindertotenlieder ( Songs of the Death of Children ). His initial engagement with song had centered on folk poetry, most notably the collection Das Knaben Wunderhorn ( From the Youth s Magic Horn ), but around the turn of the century, he had switched to the elevated poems of Friedrich Rückert. For his final foray into song, he moved in yet another direction: a volume of eighth-century Chinese verse paraphrased by Hans Bethge into German from various available translations. Mahler selected seven poems from those collected in Bethge s The Chinese Flute and shaped them heavily editing, cutting, and expanding into usable texts for six songs. He was clearly attracted by the themes of the brevity of life, drunkenness, youth, loneliness, beauty, spiritual rebirth, and ultimately farewell to the world that will go on living forever. In addition to the exoticism of these texts, Mahler infused a quasi-asian musical flavor through the use of pentatonic and whole-tone scales, instruments like the tam-tam, and occasionally a vocal style reminiscent of Chinese opera. The six movements of Das Lied von der Erde alternate between tenor and alto or baritone. (Mahler originally designated an alto in the manuscript, although his protégé Bruno Walter reported that he considered a baritone singing those movements, as we hear today.) The first movement, Das Trinklied vom Jammer der Erde ( Drinking Song of the Misery of the Earth ), places great demands on the tenor, who must compete against the orchestra in what is a wild drinking song and at the same time convey the haunting intimacy of the refrain, Dunkel ist das Leben, ist der Tod ( Dark is life; Dark is death ). The contrasts of mood evident in this opening movement are further explored in the following songs. The second movement, Der Einsame im Herbst ( The Solitary One in Autumn ), shifts the feeling to one of melancholy and loneliness in a chamberlike scoring. The lively third movement, Von der Jugend ( Of Youth ), offers a series of strophic verses with a scherzo quality; the shortest section in the work, this is the only one with sustained glimmers of happiness. Von der Schönheit ( Of Beauty ) returns to a more reflective and nostalgic tone as a girl remembers her attraction to horsemen she encountered; a boisterous march interlude separates the delicate opening and closing sections. The bright fifth movement, Der Trunkene im Frühling ( The Drunkard in Spring ), returns to the theme of ecstatic drunkenness.

Great Performers I Notes on the Program The final movement, Der Abschied ( The Farewell ), is nearly as long as all the others combined, and in it Mahler enters an almost mystical realm. A movement of symphonic proportions, he shows how far he had come in combining the modest song and the monumental symphony, for this movement is neither song nor symphony, but both at once. It transcends formal conventions as it explores an otherworldly realm, ending with the ethereal repetition of the word ewig ( eternally ). Christopher H. Gibbs is James H. Ottaway Jr. Professor of Music at Bard College. Copyright 2018 by Christopher H. Gibbs

Great Performers I Texts and Translations Das Lied von Der Erde Text: Hans Bethge Das Trinklied vom Jammer der Erde Schon winkt der Wein im gold nen Pokale, Doch trinkt noch nicht, erst sing ich euch ein Lied! Das Lied vom Kummer soll auflachend In die Seele euch klingen. Wenn der Kummer naht, Liegen wu st die Gärten der Seele, Welkt hin und stirbt die Freude, der Gesang. Dunkel ist das Leben, ist der Tod. Herr dieses Hauses! Dein Keller birgt die Fu lle des goldenen Weins! Hier, diese Laute nenn ich mein! Die Laute schlagen und die Gläser leeren, Das sind die Dinge, die zusammen passen. Ein voller Becher Weins zur rechten Zeit Ist mehr wert, als alle Reiche dieser Erde! Dunkel ist das Leben, ist der Tod. Das Firmament blaut ewig, und die Erde Wird lange fest stehen und aufbluḧ n im Lenz. Du aber, Mensch, wie lang lebst denn du? Nicht hundert Jahre darfst du dich ergötzen An all dem morschen Tande dieser Erde! Seht dort hinab! Im Mondschein auf den Gräbern Hockt eine wild-gespenstische Gestalt Ein Aff ist s! Hört ihr, wie sein Heulen hinausgellt In den su ßen Duft des Lebens! Jetzt nehm den Wein! Jetzt ist es Zeit, Genossen! Leert eure gold nen Becher zu Grund! Dunkel ist das Leben, ist der Tod! The Song of the Earth Trans.: Copyright by Emily Ezust Drinking Song of the Misery of the Earth The wine is already beckoning in the golden goblet, but do not drink yet first, I will sing you a song! The song of sorrow shall resound laughingly in your soul. When sorrow draws near, the gardens of the soul will lie desolate, wilting; joy and song will die. Dark is life, dark is death. Lord of this house! Your cellar is full of golden wine! Here, this lute I call my own! Strumming on the lute and emptying glasses these are the things that go together. A full glass of wine at the proper moment is worth more than all the riches of the world! Dark is life, dark is death. The heavens are forever blue and the earth will stand firm for a long time and bloom in spring. But you, Man, how long will you live then? Not a hundred years are you allowed to enjoy in all the rotten triviality of this earth! Look down there! In the moonlight, on the graves crouches a wild, ghostly figure it is an ape! Hear how its howls resound piercingly in the sweet fragrance of life! Now take the wine! Now is the time enjoy! Empty the golden goblet to the bottom! Dark is life, dark is death!

Great Performers I Texts and Translations Der Einsame im Herbst Herbstnebel wallen bläulich u berm See; Vom Reif bezogen stehen alle Gräser; Man meint, ein Ku nstler habe Staub von Jade Über die feinen Bluẗen ausgestreut. Der su ße Duft der Blumen ist verflogen; Ein kalter Wind beugt ihre Stengel nieder. Bald werden die verwelkten, gold - nen Blätter Der Lotosbluẗen auf dem Wasser zieh n. Mein Herz ist mu de. Meine kleine Lampe Erlosch mit Knistern; Es gemahnt mich an den Schlaf. Ich komm zu dir, traute Ruhestätte! Ja, gib mir Ruh, ich hab Erquickung not! Ich weine viel in meinen Einsamkeiten. Der Herbst in meinem Herzen währt zu lange. Sonne der Liebe, willst du nie mehr scheinen, Um meine bittern Tränen mild aufzutrocknen? Von der Jugend Mitten in dem kleinen Teiche Steht ein Pavillon aus gru nem Und aus weißem Porzellan. Wie der Ru cken eines Tigers Wölbt die Bru cke sich aus Jade Zu dem Pavillon hinu ber. In dem Häuschen sitzen Freunde, Schön gekleidet, trinken, plaudern, Manche schreiben Verse nieder. The Solitary One in Autumn Blue autumn mists undulate over the lake; the grass is standing stiff with frost; one might think an artist had strewn jade dust over all the fine blossoms. The sweet fragrance of flowers has flown away; a cold wind forces them to bow their stems low. Soon the wilted golden leaves of lotus flowers will drift upon the water. My heart is weary. My small lamp has gone out with a splutter; it reminds me of sleep. I am coming to you, comforting place of rest! Yes, give me rest I have need of rejuvenation. I weep much in my solitude. The autumn in my heart has lasted too long. Sun of love, will you never shine again, gently to dry my bitter tears? Of Youth In the middle of the small pool stands a pavilion of green and white porcelain. Like the back of a tiger the jade bridge arches across toward the pavilion. In the small house sit friends, beautifully dressed drinking, chatting; many are writing verses down.

Great Performers I Texts and Translations Ihre seidnen Ärmel gleiten Ru ckwärts, ihre seidnen Muẗzen Hocken lustig tief im Nacken. Auf des kleinen Teiches stiller Wasserfläche zeigt sich alles Wunderlich im Spiegelbilde. Alles auf dem Kopfe stehend In dem Pavillon aus gru nem Und aus weißem Porzellan; Wie ein Halbmond steht die Bru cke, Umgekehrt der Bogen. Freunde, Schön gekleidet, trinken, plaudern. Von der Schönheit Junge Mädchen pflu cken Blumen, Pflu cken Lotosblumen an dem Uferrande. Zwischen Bu schen und Blättern sitzen sie, Sammeln Bluẗen in den Schoß und rufen Sich einander Neckereien zu. Gold ne Sonne webt um die Gestalten, Spiegelt sie im blanken Wasser wider. Sonne spiegelt ihre schlanken Glieder, Ihre su ßen Augen wider, Und der Zephir hebt mit Schmeichelkosen Das Gewebe ihrer Ärmel auf, Fuḧrt den Zauber Ihrer Wohlgeru che durch die Luft. O sieh, was tummeln sich fu r schöne Knaben Dort an dem Uferrand auf mut gen Roßen, Weithin glänzend wie die Sonnenstrahlen; Schon zwischen dem Geäst der gru nen Weiden Trabt das jungfrische Volk einher! Their silk sleeves slide backwards, their silk caps sit jauntily on the backs of their necks. On the small pool s still surface, all things are reflected wonderfully in reverse. Everything is standing on its head in the pavilion of green and white porcelain. The bridge stands like a half-moon, its arch inverted. Friends, beautifully dressed, are drinking and chatting. Of Beauty Young maidens pick flowers, pick lotus flowers at the edge of the shore. Among bushes and leaves they sit, gathering blossoms in their laps and calling to one another teasingly. Golden sunlight weaves among the figures, mirroring them in the shiny water. The sun reflects their slender limbs, their sweet eyes, and the zephyr lifts caressingly the fabric of their sleeves, wafting the magic of their fragrance through the air. O see the handsome young men galloping there along the shore on their lively horses, glittering like sunbeams; already among the branches of the green willows, the fresh-faced young men are approaching!

Great Performers I Texts and Translations Das Roß des einen wiehert fröhlich auf, Und scheut und saust dahin; Über Blumen, Gräser wanken hin die Hufe, Sie zerstampfen jäh im Sturm die hingesunk nen Bluẗen. Hei! Wie flattern im Taumel seine Mähnen, Dampfen heiß die Nu stern! Gold ne Sonne webt um die Gestalten, Spiegelt sie im blanken Wasser wider. Und die schönste von den Jungfrau n sendet Lange Blicke ihm der Sehnsucht nach. Ihre stolze Haltung ist nur Verstellung. In dem Funkeln ihrer großen Augen, In dem Dunkel ihres heißen Blicks Schwingt klagend noch die Erregung ihres Herzens nach. Der Trunkene im Fruḧling Wenn nur ein Traum das Leben ist, Warum denn Muḧ und Plag? Ich trinke, bis ich nicht mehr kann, Den ganzen, lieben Tag! Und wenn ich nicht mehr trinken kann, Weil Kehl und Seele voll, So tauml ich bis zu meiner Tu r Und schlafe wundervoll! Was hör ich beim Erwachen? Horch! Ein Vogel singt im Baum. Ich frag ihn, ob schon Fruḧling sei, Mir ist als wie im Traum. The trotting horse of one whinnies merrily and shies and canters away; over flowers and grass, hooves are flying, trampling up a storm of fallen blossoms. Ah, how wildly its mane flutters, how hotly its nostrils flare! The golden sun weaves among the figures, mirroring them in the shiny water. And the fairest of the young women sends a long, yearning gaze after him. Her proud appearance is only a pretense. In the flash of her large eyes, in the darkness of her ardent glance, the agitation of her heart leaps after him, lamenting. The Drunkard in Spring If life is only a dream, why then the misery and torment? I drink until I can drink no more, the whole, dear day! And when I can drink no more, because my stomach and soul are full, I stagger to my door and sleep very well! What do I hear when I awake? Listen! A bird singing in the tree. I ask him whether it is spring it s like a dream to me.

Great Performers I Texts and Translations Der Vogel zwitschert: Ja! Der Lenz Ist da, sei kommen u ber Nacht! Aus tiefstem Schauen lauscht ich auf, Der Vogel singt und lacht! Ich fu lle mir den Becher neu Und leer ihn bis zum Grund Und singe, bis der Mond erglänzt Am schwarzen Firmament! Und wenn ich nicht mehr singen kann, So schlaf ich wieder ein, Was geht mich denn der Fruḧling an? Laß mich betrunken sein! Der Abschied Die Sonne scheidet hinter dem Gebirge. In alle Täler steigt der Abend nieder Mit seinen Schatten, die voll Kuḧlung sind. O sieh! Wie eine Silberbarke schwebt Der Mond am blauen Himmelssee herauf. Ich spu re eines feinen Windes Weh n Hinter den dunklen Fichten! Der Bach singt voller Wohllaut durch das Dunkel. Die Blumen blassen im Dämmerschein. Die Erde atmet voll von Ruh und Schlaf, Alle Sehnsucht will nun träumen. Die mu den Menschen geh n heimwärts, Um im Schlaf vergeß nes Glu ck Und Jugend neu zu lernen! Die Vögel hocken still in ihren Zweigen. Die Welt schläft ein! The bird twitters, Yes! Spring is here, it has come over night! With deep concentration I listen, and the bird sings and laughs! I fill my goblet afresh and drain it to the bottom and sing, until the moon shines in the dark firmament! And when I can sing no more, I fall asleep again, for what does Spring mean to me? Let me be drunk! The Farewell The sun departs behind the mountains. In all the valleys, evening descends with its cooling shadows. O look! Like a silver boat, the moon floats on the blue sky-lake above. I feel the fine wind wafting behind the dark spruce. The brook sings loudly through the darkness. The flowers stand out palely in the twilight. The earth breathes, full of peace and sleep, and all yearning wishes to dream now. Weary men go home, to learn in sleep forgotten happiness and youth. The birds crouch silently in their branches. The world is asleep!

Great Performers I Texts and Translations Es wehet kuḧl im Schatten meiner Fichten. Ich stehe hier und harre meines Freundes; Ich harre sein zum letzten Lebewohl. Ich sehne mich, o Freund, an deiner Seite Die Schönheit dieses Abends zu genießen. Wo bleibst du? Du läßt mich lang allein! Ich wandle auf und nieder mit meiner Laute Auf Wegen, die vom weichen Grase schwellen. O Schönheit! O ewigen Liebens Lebenstrunkn e Welt! Er stieg vom Pferd und reichte ihm den Trunk des Abschieds dar. Er fragte ihn, wohin Er fuḧre und auch warum es mu ßte sein. Er sprach, seine Stimme war umflort: Du, mein Freund, Mir war auf dieser Welt das Glu ck nicht hold! Wohin ich geh? Ich geh, ich wandr e in die Berge. Ich suche Ruhe fu r mein einsam Herz. Ich wandle nach der Heimat, meiner Stätte. Ich werde niemals in die Ferne schweifen. Still ist mein Herz und harret seiner Stunde! Die liebe Erde allu berall Bluḧt auf im Lenz und gru nt aufs neu! Allu berall und ewig Blauen Licht die Fernen! Ewig ewig It blows coolly in the shadows of my spruce. I stand here and wait for my friend; I wait to bid him a last farewell. I yearn, my friend, at your side to enjoy the beauty of this evening. Where do you tarry? You leave me alone for so long! I wander up and down with my lute, on paths swelling with soft grass. O beauty! O eternal love eternal, love intoxicated world! He dismounted and handed him the drink of parting. He asked him where he would go, and also why it must be. He spoke, his voice was choked: My friend, on this earth, fortune has not been kind to me! Where do I go? I will go, I will wander in the mountains. I seek peace for my lonely heart. I wander to find my homeland, my home. I will never stray to foreign lands. Quiet is my heart, waiting for its hour! The dear earth everywhere blooms in spring and grows green afresh! Everywhere and eternally, distant places have blue skies! Eternally eternally

Great Performers I Meet the Artists Meet the Artists Simon Rattle Sir Simon Rattle was born in Liverpool, England, and studied at the Royal Academy of Music. From 1980 to 1998, he was principal conductor and artistic adviser of the City of Birmingham Symphony Orchestra and was appointed music director in 1990. In 2002 he took up his current position of artistic director and chief conductor of the Berlin Philharmonic, where he will remain until June 2018. Sir Simon took up the position of music director of the London Symphony Orchestra in September 2017. OLIVER HELBIG In addition to fulfilling a taxing concert schedule between Berlin and London, Sir Simon regularly tours within Europe, North America, and Asia. His partnership with the Berlin Philharmonic has also broken new ground with the education program Zukunft@Bphil, earning the Comenius Prize in 2004, the Schiller Special Prize from the city of Mannheim in 2005, and the Golden Camera and the Urania Medal in 2007. He and the Berlin Philharmonic were also appointed International UNICEF Ambassadors in the same year the first time this honor has been conferred on an artistic ensemble. In September 2017, Sir Simon opened his first season as music director of the London Symphony Orchestra with a program of English music, a semi-staged opera of La damnation de Faust, and the Stravinsky ballets. In November, he toured Asia with the Berlin Philharmonic and soloists Yuja Wang and Seong-Jin Cho. The remainder of the 2017 18 season takes Sir Simon on a European and U.S. tour with the London Symphony Orchestra, to Munich with the Bavarian Radio Symphony Orchestra, and he will return to Baden-Baden with the Berlin Philharmonic for a production of Parsifal. Sir Simon was knighted in 1994 and in the New Year s Honors of 2014, he received the Order of Merit from Queen Elizabeth II.

Great Performers I Meet the Artists Stuart Skelton SIM CANETTY-CLARKE Stuart Skelton is one of the finest heldentenors on the stage today, critically acclaimed for his outstanding musicianship, tonal beauty, and intensely dramatic portrayals. His repertoire encompasses many of opera s most challenging roles, from Wagner s Parsifal, Tristan, Lohengrin, Erik, and Siegmund, to Beethoven s Florestan, Saint-Saëns s Samson, Dvořák s Dimitrij, and Britten s Peter Grimes. Mr. Skelton makes his debut at Teatro alla Scala later this season in Fidelio, conducted by Myung-Whun Chung, and joins the Salzburg Easter Festival, on tour in China, for Die Walküre conducted by Jaap van Zweden. His robust concert calendar includes performances of Mahler s Das Lied von der Erde with Asher Fisch and the Milwaukee Symphony, Ádám Fischer and the Düsseldorfer Symphoniker, and with Simon Rattle and the London Symphony Orchestra and Bavarian Radio Symphony Orchestra; Elgar s The Dream of Gerontius with Andrew Davis and the Melbourne Symphony Orchestra and with Sakari Oramo and the BBC Symphony Orchestra; and Beethoven s Missa Solemnis with David Robertson and the St. Louis Symphony Orchestra. With his frequent collaborator Edward Gardner, Mr. Skelton sings the title roles of Peter Grimes in concert performances at the Edinburgh International Festival and Otello with the Bergen Philharmonic Orchestra. Engagements of recent seasons include Tristan und Isolde at the Metropolitan Opera conducted by Rattle; Otello in a new production at English National Opera conducted by Gardner; Die Walküre with Valery Gergiev and the Mariinsky Orchestra at the Festspielhaus Baden-Baden; and Lohengrin at the Opéra national de Paris led by Philippe Jordan, as well as concerts with Antonio Pappano and Accademia Nazionale di Santa Cecilia, Franz Welser-Möst and the Cleveland Orchestra, and Esa-Pekka Salonen and the MET Orchestra.

Great Performers I Meet the Artists SONY/GREGOR HOHENBERG Christian Gerhaher German baritone Christian Gerhaher attended the Opera School at the Academy of Music in Munich and, together with his regular piano partner Gerold Huber, studied lied interpretation with Friedemann Berger. While completing his medical studies, Mr. Gerhaher perfected his vocal training in master classes given by Dietrich Fischer-Dieskau, Elisabeth Schwarzkopf, and Inge Borkh. Mr. Gerhaher performs regularly with such major orchestras as the Vienna and Berlin Philharmonics. He was the first-ever singer to be artist in residence with the Berlin Philharmonic (2013 14), as well as with the Bavarian Radio Symphony Orchestra (2012 13). His exemplary lied interpretations with Huber can be heard on the stages of major international recital venues, including Amsterdam s Concertgebouw and the Cologne and Berlin Philharmonie; their recordings have repeatedly won prizes. Mr. Gerhaher is a frequent guest in Vienna s Konzerthaus and Musikverein, as well as London s Wigmore Hall, where he has been artist in residence. Mr. Gerhaher is also a highly sought-after performer on the opera stage and has received several prizes such as the Laurence Olivier Award and the theater prize Der Faust. In 2016 he returned to Royal Opera House, Covent Garden, in a role he is noted for, Wolfram in Tannhäuser. His 2017 18 season includes two new productions at the Bavarian State Opera: as Count Almaviva in a staging of Le nozze di Figaro by Christof Loy, and in June, his role debut as Amfortas in Wagner s Parsifal, which opens the Munich Opera Festival. Other highlights include a return to the Zurich Opera House, where he performed the role of Nikolaus Lenau in the world premiere of Heinz Holliger s Lunea. London Symphony Orchestra The London Symphony Orchestra aims to bring the greatest music to the greatest number of people. This is at the heart of everything it does. This commitment to serve music and the people who love music is borne of a unique ethos developed over more than 100 years. Established in 1904 by a number of London s finest musicians, the LSO is a self-governing musical collective built on artistic ownership and partnership. The orchestra is still owned by its members and has a signature sound emanating from the combined zeal and virtuosity of these 95 brilliant musicians who come from around the world; its music-making remains firmly at the center of the orchestra s activities.

Great Performers I Meet the Artists The LSO is resident orchestra at the Barbican in the City of London, where it gives 70 symphonic concerts every year, and performs a further 70 concerts worldwide on tour. The orchestra works with a family of artists that includes the world s greatest conductors Sir Simon Rattle as music director, Gianandrea Noseda and François-Xavier Roth as principal guest conductors, Michael Tilson Thomas as conductor laureate, and André Previn as conductor emeritus. LSO Discovery, the orchestra s community and education program based at LSO St. Luke s, brings the work of the LSO to all parts of society and engages with 60,000 people every year. The LSO reaches out much further with its own recording label LSO Live, the first of its kind, which launched in 1999 and now streams its music to millions around the world. Millions more have enjoyed the LSO through its reputation as a leading orchestra for film; it has recorded hundreds of classic scores, including films from the Star Wars, Harry Potter, and Indiana Jones series. Every year the orchestra also gives a free outdoor concert in Trafalgar Square. Combined, these activities reflect the LSO s cooperative spirit and its ongoing commitment to making music as accessible as possible to the greatest number of people. The orchestra extends thanks to the generous supporters of the American London Symphony Orchestra Foundation: Alan & Sally Bell, Tony & Gisela Bloom, John & Glenda Burkhart, Brian & Susan Dickie, Mr & Mrs Robert Marchbank, Reidler Foundation, Christopher Stewart, and those who wish to remain anonymous. And the Advisory Council to the American London Symphony Orchestra Foundation: David Chavolla, Philip C. Keevil, Shirley Lord Rosenthal, Ilona Nemeth Quasha, André Previn KBE, Louise Shackelton, Sir Nigel Sheinwald GCMG, Ernest Steiner, Sir Howard Stringer, Martin Sullivan, Michael Tilson Thomas.

Great Performers I Meet the Artists RANALD MACKECHNIE London Symphony Orchestra Sir Simon Rattle OM CBE, Music Director Gianandrea Noseda, François-Xavier Roth, Principal Guest Conductors Michael Tilson Thomas, Conductor Laureate André Previn KBE, Conductor Emeritus Simon Halsey CBE, Choral Director First Violin Roman Simovic Lennox Mackenzie Clare Duckworth Ginette Decuyper Maxine Kwok-Adams Claire Parfitt Elizabeth Pigram Laurent Quenelle Harriet Rayfield Colin Renwick Sylvain Vasseur Rhys Watkins Julian Azkoul Laura Dixon Shlomy Dobrinsky Hazel Mulligan Second Violin David Alberman Thomas Norris Miya Vaisanen David Ballesteros Matthew Gardner Julian Gil Rodriguez Naoko Keatley Belinda McFarlane William Melvin Iwona Muszynska Paul Robson Louise Shackelton Siobhan Doyle Alix Lagasse Viola Edward Vanderspar Gillianne Haddow Malcolm Johnston Anna Bastow German Clavijo Stephen Doman Lander Echevarria Carol Ella Julia O Riordan Robert Turner Heather Wallington Cynthia Perrin Cello Tim Hugh Alastair Blayden Jennifer Brown Noel Bradshaw Eve-Marie Caravassilis Daniel Gardner Hilary Jones Amanda Truelove Miwa Rosso Deborah Tolksdorf Bass Colin Paris Patrick Laurence Matthew Gibson Thomas Goodman Joe Melvin Jani Pensola Simon Oliver Simo Vaisanen Flute Gareth Davies Adam Walker Alex Jakeman Piccolo Patricia Moynihan Oboe Olivier Stankiewicz Rosie Jenkins Juliana Koch Cor Anglais Christine Pendrill Clarinet Andrew Marriner Chris Richards Chi-Yu Mo Sonia Sielaff Bass Clarinet Laurent Ben Slimane Bassoon Daniel Jemison Joost Bosdijk Contrabassoon Dominic Morgan Horn Timothy Jones Angela Barnes Alexander Edmundson Jonathan Lipton James Pillai Trumpet Philip Cobb David Elton Gerald Ruddock Niall Keatley Trombone Dudley Bright Peter Moore James Maynard Bass Trombone Paul Milner Tuba Ben Thomson Timpani Nigel Thomas Percussion Neil Percy David Jackson Sam Walton Tom Edwards Harp Bryn Lewis Manon Morris Celeste Catherine Edwards Mandolin James Ellis Administration Kathryn McDowell, Managing Director Tim Davy, Tours & Projects Manager Frankie Hutchinson, Tours & Projects Manager Andrew Softley, Orchestra Personnel Manager Alan Goode, Stage & Transport Manager Nathan Budden, Stage Manager

Great Performers Lincoln Center s Great Performers Initiated in 1965, Lincoln Center s Great Performers series offers classical and contemporary music performances from the world s outstanding symphony orchestras, vocalists, chamber ensembles, and recitalists. One of the most significant music presentation series in the world, Great Performers runs from October through June with offerings in Lincoln Center s David Geffen Hall, Alice Tully Hall, Walter Reade Theater, and other performance spaces around New York City. From symphonic masterworks, lieder recitals, and Sunday morning coffee concerts to films and groundbreaking productions specially commissioned by Lincoln Center, Great Performers offers a rich spectrum of programming throughout the season. Lincoln Center for the Performing Arts, Inc. Lincoln Center for the Performing Arts (LCPA) serves three primary roles: presenter of artistic programming, national leader in arts and education and community relations, and manager of the Lincoln Center campus. A presenter of more than 3,000 free and ticketed events, performances, tours, and educational activities annually, LCPA offers 15 programs, series, and festivals including American Songbook, Great Performers, Lincoln Center Out of Doors, Midsummer Night Swing, the Mostly Mozart Festival, and the White Light Festival, as well as the Emmy Award winning Live From Lincoln Center, which airs nationally on PBS. As manager of the Lincoln Center campus, LCPA provides support and services for the Lincoln Center complex and the 11 resident organizations. In addition, LCPA led a $1.2 billion campus renovation, completed in October 2012. Lincoln Center Programming Department Jane Moss, Ehrenkranz Artistic Director Hanako Yamaguchi, Director, Music Programming Jon Nakagawa, Director, Contemporary Programming Jill Sternheimer, Director, Public Programming Jordana Leigh, Director, David Rubenstein Atrium Lisa Takemoto, Production Manager Charles Cermele, Producer, Contemporary Programming Mauricio Lomelin, Producer, Contemporary Programming Andrew C. Elsesser, Associate Director, Programming Luna Shyr, Senior Editor Regina Grande Rivera, Associate Producer Viviana Benitez, Associate Producer, David Rubenstein Atrium Walker Beard, Production Coordinator Meera Dugal, Programming Manager, David Rubenstein Atrium Nana Asase, Assistant to the Artistic Director Olivia Fortunato, Programming Assistant